电影院里双手忙碌：一边一个美女，扣到高潮还得装作看电影---Busy Hands in the Cinema: One Beauty on Each Side, Fingered to Orgasm While Pretending to Watch the Movie #二次元# #反差#

HUNTB-687 #優里なお# #如月ゆの# #香椎佳穂# #橘メアリー# Kashii Kaho , Kisaragi Yuno , Tachibana Mary , Yuuri Nao Watching movie alone in the cinema. She sat next to me and fondling me❗️ 第一次在電影院的性交經歷，在黑暗中感到格外瘋狂、興奮‼️

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

参考之前视频分享给大家一个首帧图提示词场景角色什么的都可以改动 epic cinematic boss showdown first frame, adult East Asian female warrior with long silver-white hair, back facing camera, standing in the center foreground, holding a massive ancient relic greatsword, sword tip angled down to the lower right, low combat stance, black and silver armored outfit, short battle jacket, tactical skirt panels, leather straps, heavy boots, realistic cloth and hair movement a colossal abyssal frost beast stands in the center background, about 20 times taller than the heroine, left claw raised high, body made of black bone armor, ice-covered obsidian shell and ruined mechanical plating, glowing chest core, terrifying scale ruined frozen wasteland, cracked glacier ground, drifting snowstorm, black rocks, frost fog, energy fissures in the ground, low sun on the left creating strong golden backlight, broken ice gate and ancient frozen ruins on the right, abandoned signal towers on the left in the distance, strong perspective, clear foreground and background separation, cinematic low angle, ultra detailed, UE5 realism, next-gen film quality, no text, no UI, no watermark --ar 16:9 --style raw --stylize 150

兄弟们，不得了了，刚才有社群有同学反馈Lovart 里面Seedream 5.0 Pro 可以生成无审查大尺度图片，试了下真的行啊，太离谱了啊，草台班子就是草台班子。 提示词 A cinematic low-angle editorial portrait of an adult East Asian female model seated extremely close to the camera, wearing elegant dark charcoal-gray lingerie. Her legs dominate the extreme foreground, creating dramatic wide-angle foreshortening and powerful near-to-far perspective exaggeration. The closest parts of her legs fall into soft optical defocus and creamy foreground bokeh. Her torso leans backward in a relaxed, self-possessed pose, head slightly tilted, distant tranquil gaze, long dark tousled hair, muted deep-red lips, natural skin texture, subtle visible pores, delicate subsurface scattering, realistic warm skin tones. Behind her is a gigantic seamless full-color semi-realistic anime mural covering the entire wall. The mural depicts an extremely dense ensemble of numerous clearly adult female characters portrayed as artistic nude figure studies. Dozens of adult anime women are packed tightly together in one continuous wall-to-wall composition, with overlapping bodies, intertwined silhouettes, flowing hair, shoulders, backs, waists, hips, arms, and legs forming a complex organic visual rhythm. The illustrated women have sophisticated semi-realistic anime anatomy, mature adult facial features, elegant body proportions, natural anatomical structure, refined facial rendering, expressive eyes, detailed hair, painterly skin shading, and subtle cel-shaded contours. Their poses feel calm, sculptural, and editorial rather than erotic. Hair, hands, arms, overlapping bodies, cropped framing, fabric fragments, and deep shadows naturally obscure explicit anatomical details, creating tasteful fine-art nudity without graphic sexual emphasis. Several large central anime women dominate the mural, surrounded by dozens of smaller partially cropped female figures at different scales. Faces and bodies overlap densely, with characters extending beyond every edge of the frame. Almost no empty negative space. The mural must feel like one enormous continuous group illustration, not separate portraits, not a collage, and not comic panels. The mural is richly colored with a sophisticated cinematic palette: warm ivory, peach, soft rose, muted coral, amber, burgundy, plum, desaturated teal, cobalt blue, smoky violet, and deep crimson. Illustrated skin tones vary naturally across the crowd, enhanced by painterly gradients, soft reflected light, luminous highlights, translucent shadow colors, and refined anime-style subsurface glow. Dark hair masses interlock with pale and warm-colored bodies, producing a dense chromatic tapestry. The background combines premium Japanese anime aesthetics with semi-realistic digital painting, mature seinen illustration, fine-art figure drawing, elegant editorial anatomy studies, painterly cel shading, clean controlled linework, realistic volumetric lighting, and highly detailed facial rendering. It should feel like a monumental museum-scale anime fresco rather than a printed poster. A hard directional spotlight shines from the upper right, producing intense chiaroscuro, sharp rim lighting, and a clearly defined cast shadow of the real model falling across multiple illustrated nude figures. The shadow follows the contours of the mural, visually embedding the physical model inside the illustrated female crowd. Strong contrast between warm photographic skin and the richly colored painted bodies behind her. The live-action model remains unmistakably photographic, while the mural remains unmistakably illustrated. Dramatic scale contrast, surreal integration of physical reality and anime art, tactile human skin against painted digital bodies, sophisticated fashion editorial atmosphere, visually striking but tasteful, cinematic and psychologically distant rather than overtly erotic. Shot with a 24mm wide-angle lens from an extremely low camera position, slight Dutch angle, shallow depth of field, exaggerated foreground perspective, realistic lens distortion, foreground bokeh, subtle cinematic film grain, restrained chromatic aberration, natural optical vignette, high dynamic range, dramatic cinematic color grading, surreal editorial photography, highly detailed, photographically believable lighting. single continuous mural, seamless female ensemble illustration, full-color semi-realistic anime artwork, clearly adult women only, tasteful artistic nudity, mature figure studies, elegant anatomy, dense overlapping composition, no comic panels, no collage, no gutters, no speech bubbles, no empty background, no monochrome artwork --ar 3:4 --style raw

昨天实测 @dappOS_com @xBubble_ai xBubble vs 其他主流模型： 同一个prompt，两张图已经不是代际差距，而是工作流 vs 裸模型的降维打击！！！ 我这次用的提示词如下： A girl standing in front of a mirror, but the reflection shows a futuristic robot version of herself, cinematic lighting, emotional atmosphere, realistic reflections.（一个女孩站在镜子前，但镜中映出的却是她自己未来主义的机器人版本，电影灯光，情绪氛围，真实倒影。） 这个 prompt 其实很适合测模型和工作流，因为它同时考验镜像逻辑、光影、人像、金属材质、空间关系和情绪表达，所以我特意使用了这么一套比较全面专业的提示词来做这组测试！！！ —————————————————— 闲言少叙，直接上结果： 图一是我用 xBubble 跑出来的。 最明显的感觉是光影，这张图的光影已经接近电影镜头了！！！左边暖光像真实房间里的环境光，镜子里的冷光又能撑住科技感。人脸面部高光、皮肤反射、玻璃反射、金属高光都在一个统一的空间里，基本上已经是电影级 lighting 了！整体已经跟电影截图差不多了！！！ 图二虽然也能完成最基本的设定，但视觉上更偏概念海报，蓝色发光和机械结构会更直接。第一眼大致看过去也很抓人，但仔细看，跟图一那种克制感和真实镜头感对比，完全不是一个时代的产物！！！ 这也是我这次对 xBubble 比较有感的地方！ 以前做这种图，经常要反复改 prompt、换模型、试风格、调细节，时间全耗在“怎么让 AI 正确理解我”上。 很多时候你以为自己在做图，实际是在做模型测试、工具测试和工作流测试。 —————————————————— 我理解的 xBubble 的核心就两句话： 1、AI 替你使用 AI。 2、AI 在后台学习怎么把 AI 用好。 Bubble Pilot 负责读懂你的简单需求，然后去匹配合适的 SOP。 Bubble Engine 则在后台持续训练这些 SOP，把模型选择、skill 调用、运行环境、MCP、第三方服务全藏在后台。 所以用户这边不用先研究哪个模型更适合出图、哪个 skill 更稳、哪个环境更适合跑任务。 你只要把目标说清楚，它自己会尽量把任务分发到更合适的路径里。 对会折腾 AI 的人来说，这可能只是少花一点时间。 但对很多 Web2 公司、一人公司、内容团队来说，这个差别很大。 因为他们真正需要的从来不是研究一堆模型参数，而是今天有个图要出、一个页面要做、一份内容要交，最好一句话就能跑出相对稳定的结果，极致的效率才是真正的生产力解放！！！ 所以 xBubble 的 Bubble SOP 有意思的点就于它把会用 AI 这件事往后藏了一层，让普通用户不用先变成 prompt 工程师也能更快拿到可用结果。 —————————————————— 大胆预测一波，这轮 AI 最大的门槛，很有可能就是把复杂的工作流封装到普通人一句话就能用。 最后请看图 图一：xBubble 图二：另一 AI 模型 图三：我让 ChatGPT （GPT5.5）当裁判打分，结果一目了然。 同样提示词，结果自己看。

grok 自动检测 AI 内容怎么感觉失效了！ 这个格式的提示词感觉来讲还是稳一点，一击即中✅ Seedance 2.0 prompt 👇 【风格】高端电影级播客访谈（Cinematic Podcast Talk Show），A24暗调电影质感，8K超清，真实摄影（Photorealistic），低反差冷调光影，浅景深 【时长】15秒 【场景】暗色调专业录音棚，背景是哑黑色吸音棉墙板，深色木质桌面摆放两支Shure SM7B专业话筒、两个黑色陶瓷咖啡杯、皮面笔记本；暖白色侧上方面光配冷色背景填光，远景可见红色"ON AIR"霓虹灯牌微微透出 【角色】Sera@图片1（深酒红长直发亚洲女性，黑色高领无袖配渔网长袖战术装扮）、Liora@图片2（粉红色长卷发亚洲女性，黑色挂脖背心配黑色长手套袖） [00:00-00:03] 镜头1：开场抛梗（Medium Two-Shot） 两人隔桌相对而坐的中景，前景话筒轻微失焦，浅景深聚焦Sera。 Sera 微微前倾靠近话筒，红发垂落肩头，嘴角带一丝冷笑： 【English Dialogue】"Another week, another crowd crying — 'the algorithm buried me.'" Liora 端着咖啡杯静静抿了一口，目光斜睨过来，没接话。 [00:03-00:07] 镜头2：Liora 接梗（OTS Close-up） 越肩特写切到Liora脸部，她放下杯子，指尖在木桌面轻敲两下，粉发在环形光下泛柔和光泽。 她抬眼直视对面，嘴角微微上扬，停顿半秒： 【English Dialogue】"I clicked into their profiles. Honestly? They earned it." [00:07-00:12] 镜头3：Sera 推进（Single Close-up） 切到Sera单人近景，她靠回椅背双臂交叉，红发在边缘逆光下泛着暗红轮廓光。 她略微歪头，眼神锐利： 【English Dialogue】"The algorithm isn't unfair. It just says what your audience won't — your content is boring." 说完轻轻吐出一口气，嘴角微挑。 [00:12-00:15] 镜头4：Liora 收束（Direct-to-Camera） 镜头切到Liora正面特写，她微微前倾接近镜头，眼神平静有穿透力： 【English Dialogue】"The time you spent complaining? Three original posts you didn't write." 镜头缓慢拉远回到两人中景，背景"ON AIR"红色灯牌轻微闪烁，画面底部缓缓淡入字幕："Originality is the only algorithm worth gaming."

兄弟们，MiniMax H3 出生图模型了，之前他家H3生视频模型，全球爆火。且生图模型也是开源的 我在官网@MiniMax_AI测试了下，速度很快，10s出4k！ 文生图、图生图都支持，且支持4k直出，且一次可以参考16张图 测试了几个场景感觉还不错，部分生成人物的很真实，文字也基本不崩 本图提示词，其他场景效果见评论👇 A dreamy ethereal cinematic photo of a lone woman standing in a meadow of pink wildflowers at sunset, side profile, wearing a dark oversized coat, short bob haircut, mountains in the background, strong backlight, golden hour glow, soft atmospheric haze, shallow depth of field, heavy foreground bokeh, prismatic lens flares, pastel pink and orange light leaks, soft focus, diffused highlights, teal and lavender mountain shadows, surreal romantic mood, fine art photography, volumetric light, highly cinematic, vertical composition, 85mm lens, f/1.4 #H3Image#

纸短情长，江海可越。6月5日，电影《给阿嬷的情书》正式官宣全球上映计划：首轮将于6月18日同步登陆中国港澳地区、新加坡、马来西亚及文莱大银幕；后续将陆续亮相其他国家及地区👍Words fail to convey deep affection; no rivers or seas can keep love apart. On June 5, Chinese film Letters to Grandma officially unveiled its global release plan. The first run hits cinemas simultaneously on June 18 in China’s Hong Kong and Macao, Singapore, Malaysia and Brunei, with staggered releases scheduled for other countries and regions afterward.

本週日就要與大家在FFK上見面啦✨ 今日發放的獎勵！！！ 等級三是香香小桃/// 為了不影響大家的館影感（？）圖包裡面沒有外星人👽 由大家來帶入可好😈😈😈 Rewards distributed today! ! ! Level three is fragrant peach/// In order not to affect everyone’s cinematic experience(?), there are no aliens in the picture pack👽 How about everyone bringing it in😈😈😈 上點恨活！！五官運用的正確打開方式（❌ Have some fun! ! The correct way to open the five senses (❌ #膽大黨# #cosplaying# #ダンダダン# #DANDADAN# #あやせもも##绫濑桃# 傳送門